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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. The author writes of his book, "if anyone were to try to use it as a handbook, then I can definitely warn him--there are no _______."
(a) Questions.
(b) Answers.
(c) Formulas.
(d) Beliefs.

2. What is the "lie" that the secret patronage of going to the theatre is?
(a) That it will be bad.
(b) That the gift is worth receiving.
(c) That the truth is waiting.
(d) That the honor is privilege.

3. The sort of play that Shakespeare offers us is never just what?
(a) A Rough play.
(b) A series of events.
(c) A Holy play.
(d) An enlightened tale.

4. What "is above all an appeal to the spectator to work for himself, so to become more and more responsible for accepting what he sees only if it is convincing to him in an adult way"?
(a) Realism.
(b) Romance.
(c) Absurdism.
(d) Alienation.

5. In the author's "formula" for creating and defining theatre, the first element is what?
(a) Representation.
(b) Assistance.
(c) Truth.
(d) Repetition.

Short Answer Questions

1. The author contends that ______ "is a model of a theatre that contains Brecht and Beckett, but goes beyond both."

2. Joan Littlewood dressed her soldiers as what to create an alienation effect?

3. The true meaning of a theatre piece only becomes apparent when an audience is what?

4. What play was conceived by Peter Weiss, and based on many ideals of Brecht?

5. Who once did a production of Love's Labour's Lost where the character called Constable Dull was dressed as a Victorian policeman because his name at once conjured up the typical figure of the London bobby?

Short Essay Questions

1. How does the author describe the difference between "Rough Theatre" and "Holy Theatre"?

2. What does the author speak of regarding Shakespeare and the Rough Theatre?

3. What is the common thread between human existence and approach to process in the theatre?

4. What does the author say of change and liberation regarding "The Rough Theatre"?

5. What does the author describe happening when a Brechtian approach is applied to other works?

6. How does the author compare the cinema to the theatre?

7. How does the author view Method acting?

8. How does Shakespeare embody both The Rough Theatre and The Holy Theatre?

9. What does the author discuss as an ideal in Marat/Sade?

10. The author gives a formula for creating and defining theatre. What is this formula?

(see the answer keys)

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